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Museala Och Musikaliska Föreställningar Om Historiska Musikinstrument

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Museala Och Musikaliska Föreställningar Om Historiska Musikinstrument MUSEALA OCH MUSIKALISKA FÖRESTÄLLNINGAR OM HISTORISKA MUSIKINSTRUMENT Madeleine Modin Museala och musikaliska föreställningar om historiska musikinstrument En studie av Musikhistoriska museets verksamhet 1899–1918 Madeleine Modin ©Madeleine Modin, Stockholms universitet 2018 ISBN tryckt 978-91-7797-256-3 ISBN PDF 978-91-7797-257-0 ISSN 1103-6362 Tryckeri: Universitetsservice US-AB, Stockholm 2018 Distributör: Institutionen för kultur och estetik Omslagsbilden föreställer två instrument ur Scenkonstmuseets samlingar: viola d'amore inv. nr M537 och hammarklaver inv. nr M412. Bilder: Scenkonstmuseet. Fotograf: Sofi Sykfont Till min familj Innehåll Inledning ........................................................................................................ 11 Syfte, frågeställningar och avgränsningar ..................................................................... 13 Forskningsläge och litteratur ......................................................................................... 16 Källmaterial .................................................................................................................... 22 Uppläggning och metod ................................................................................................ 24 Bakgrund och perspektivval med teoretiskt stöd .......................................... 28 Musikinstrumentsamlingar och museer. ........................................................................ 28 Instrumentsamlingar före 1800 ..................................................................... 28 Privata samlare på 1800-talet ....................................................................... 29 Offentliga samlingar och de första instrumentmuseerna .............................. 30 Konst och industri .......................................................................................... 31 Privatsamlare i Sverige ................................................................................. 32 Institutionerade samlingar i Sverige .............................................................. 35 Framföranden på historiska instrument ......................................................................... 36 Bachkulten .................................................................................................... 37 Concerts historique ....................................................................................... 38 Konst- och industriutställningar ..................................................................... 38 Frankrike som föregångsland ....................................................................... 40 Arnold Dolmetsch .......................................................................................... 42 Tyskland ........................................................................................................ 42 Spel hos privata instrumentsamlare ............................................................. 43 Historiska operor ........................................................................................... 43 Skansen ........................................................................................................ 44 Sven Scholander ........................................................................................... 46 Carl Michael Bellman .................................................................................... 49 Ina Lange och Anna Petterson-Norrie .......................................................... 50 Teoretiskt understödda perspektivval ........................................................................... 53 Bevarande ................................................................................................................ 57 Samlande och samlare ................................................................................. 57 Bevarande av musikaliska ljud ...................................................................... 58 Bevara minnet av personer ........................................................................... 61 Bildning .................................................................................................................... 62 Bildning.......................................................................................................... 62 Utbildning ...................................................................................................... 66 Vitalisering ................................................................................................................ 67 Konstfärdig instrumentutveckling .................................................................. 70 Personlig och historisk autenticitet................................................................ 72 Estetik ............................................................................................................ 72 Förändring av musiklivets organisation ........................................................ 78 Demusealisering ........................................................................................... 80 Musikhistoriska museet: framväxt, kontext och konserter ............................ 83 Allmänna konst- och industriutställningen i Stockholm 1897 ........................................ 83 Nyproducerade instrument ............................................................................ 86 Den historiska Teater- och musikutställningen ............................................. 88 Musikhistoriska museets bildande ................................................................................ 92 Carl Claudius – storsamlaren och eldsjälen ................................................. 93 Johannes Svanberg – administratören och eldsjälen ................................... 96 Andra främjare av det nya museet ................................................................ 99 Museets initiala syftemål ............................................................................. 104 Nordiska museet som konkurrent ............................................................... 108 Konkurrens om musikinstrument ................................................................ 113 Relation till instrumenten ............................................................................. 117 Instrumentkunskaper ................................................................................... 119 Musikhistoriska Museets Soirée Tisdagen den 10 April 1900 kl. 7,30 e. m. Kongl. Musikaliska Akademiens Stora Sal ............................................................................. 124 Förberedelser ......................................................................................................... 124 Det visuella ............................................................................................................. 126 Musiker ................................................................................................................... 129 Musik ...................................................................................................................... 135 Musikinstrument ..................................................................................................... 138 Klaverinstrument ......................................................................................... 138 Stråkinstrument ........................................................................................... 140 Knäppinstrument ......................................................................................... 140 Tillämpad musikforskning och kunskapsförmedling .............................................. 143 Reception ............................................................................................................... 144 Sammanfattning ..................................................................................................... 146 Musikhistoriska museet och kontext 1900–1903 ........................................................ 148 Invigning av den första offentliga lokalen .................................................... 148 Utbyte med Francis W. Galpin .................................................................... 154 Museets instrumentkatalog ......................................................................... 155 Tre större depositioner och en särskild beskyddarinna .............................. 157 Alfred Brock ................................................................................................. 161 Musikhistoriska Museets Konsert-Matiné i Kongl. Teaterns stora foyer Tisdagen den 21 April 1903 kl. 3,30 e. m. ............................................................................................... 168 Förberedelser ......................................................................................................... 168 Det visuella ............................................................................................................. 168 Musiker ................................................................................................................... 169 Musik ...................................................................................................................... 173 Musikinstrument ..................................................................................................... 175 Två fetischer ................................................................................................ 175 Fyra olika
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